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原文出处:http://www.huffingtonpost.co.uk/ruby-wax/alan-rickman_b_9065860.html
标题：For Alan Rickman 致艾伦·里克曼
By Ruby Wax Yobeena译
正文翻译如下：
我刚刚在伦敦西区的艺术剧场（The Arts Theatre）开演我的喜剧《理智新世界》（Sane New World），演出一直进行到2月13日。这部喜剧已经在英国巡演了好几年了，但记者前来时，我总是要胃疼，要知道，任何一个急转的笔锋下的负面评价，都能令我难过蒙羞—-然而你还是得出现在舞台上。无论如何，我爱这出剧，我想若不是出现在里面，我会愿意去看它。我一般不这么说，因为我不是自夸的人，但是演出超过200场以后，我想也许自己已对此深信不疑。
三十年前，我刚刚开始表演女性单人剧，艾伦·里克曼就是我的导演。我与他在皇家莎士比亚公司（译注--Royal Shakespeare Company，英文缩写RSC）相识。那里的男演员，在表演的中途，对我乱喷唾沫星子，让我重新考虑女演员的职业生涯，认为我或许该转行。那不是愉快的经历。而艾伦让我把自己说的、想的原原本本地写下来，于是我就不顾一切地开始写作。我把一大册满是食物污迹的手稿交给艾伦，他说就像有人吐在他身上一样，但还是修改并把它打磨成一个舞台剧本。在RSC的时候，他执导了我的第一部作品。我们邀请了特利弗·南（Trevor Nunn）及其他的一些演员，导演来看。此后我突然就从表演盆栽升级成了有台词的角色。（我的表演是不好，但我想他们发现有我在旁边的乐趣了。）
我当时写的那部剧后来在非百老汇（off-Broadway）剧场演出，我启用美国演员。艾伦拒绝参与，因为他正在筑建自己的事业。几位女演员因此掉了眼泪，并表示除非由艾伦来导演，否则她们拒绝演出。他答应来当导演。那些年，我全部的演艺作品，电视节目，戏剧演出，喜剧剧本，电影都是他导演我，教导我的。我记得，曾经在表演演女性单人剧时被艾伦臭骂了一顿，他说我的表演不应太渴望被关注，因为观众能从我的眼里看出这种渴望来。他称之为歹徒的眼睛（hatchet eyes）；眼神里表达了太多匮乏和恐惧。他告诉我演我自己，因为在演一个咧嘴笑的，努力显得滑稽，喧哗的美国人时，我都不知道自己到底演的是谁。观众笑得越少，我的声音就越大。艾伦经常为我示范台词，逼我歇斯底里地尖叫，瘫倒在地上，他对喜剧和把握时机十分在行。我经常想试着模仿他的表演，但我这样做只会使观众感到困惑。所有的表演他都会给我同一个提示：“别太用力”。最后，到今天，几十年过去了，我终于能够做到在舞台上“不渴望关注”。那感觉就是，我可以感知观众的存在，但也能放下努力取悦观众的想法。今天，他会为此感到骄傲了吧。
艾伦上周去世了，我感到从未有过的心碎。我的内心就像被凿开，掏空了。他塑造了我，挽救了我。我父亲以前到英国来，对我横加指责，是艾伦制止了他。艾伦告诉父亲，我不是他口中的“无用之徒”，我是一个有表演天赋并能够成功的人。父亲报以白眼，不以为然。如果不是因为艾伦，我从不会想到创作喜剧，我可能早已返回美国，回到父母家中，我知道那会毁了我。我知道要是那样，我不是被送进精神病院，接受极端治疗，或是已经死了。我真的要谢谢艾伦，但是我却做不到了。
原文：
For Alan Rickman
I just opened The Arts Theatre in the West End (my show, Sane New World runs until 13 February). I've toured this show for a few years around the UK but when the press come there's always a sickness in the stomach because you know that, with one swift negative scribble of the plume, it could get very painful and shaming - and yet you still have to show up. Anyway, I love my show and would come see it if I wasn't in it. This is an unusual thing for me to say as I'm not usually very flattering about myself but after about 200 performances, I think I might have nailed it.
When I started doing one woman shows 30 years ago, Alan Rickman directed me. I met him at the Royal Shakespeare Company where the actors on stage threw spit balls of notes at me while I was mid-performance, telling me that I should reconsider being an actress and to maybe think about an alternative career. It wasn't pleasant. Alan told me to write the way I spoke and thought, so I just let it rip on paper with wild abandon. When I handed him my tome covered in food stains he said it was like someone had vomited on him, but he edited it somehow and shaped it into a show. He directed my first piece while we were still in the RSC. We invited Trevor Nunn and all the other actors and directors to watch and suddenly I went from playing houseplants to speaking parts. (I still wasn't any good at acting but I think I was fun to have around.)
The show I wrote back then went to off-Broadway and I cast Americans in the roles. Alan refused to come because he was building his own career but I made several actresses cry and they refused to do my show unless Alan came and directed it. He did. He directed and mentored me on pretty much everything I did all those years ago; television, live shows, comedy scripts, films. I remember, he would give me hell while I was doing my one woman shows, telling me to not be so desperate because it showed in my eyes. He called them hatchet eyes; expressing excess neediness and fear. He told me to play myself and since I didn't know who that was I played a grinning, trying to be funny, loud American. The less people laughed, the louder I got. Alan would often do my lines and make me scream with hysterics, collapsing onto the floor, he was that good at comedy and timing. I often tried to imitate how he'd do it when I performed but it just confused people. During all those shows he'd give me the same note. "Don't try so hard." Finally, now, after many decades, I can be 'not desperate' on stage. It feels like I can let go of trying to please but still be aware there's an audience. I think now he might be proud.
He died last week and it's more heart-breaking than anything I've felt before. I feel like my insides have been gouged out and nothings left. He formed me and saved me. When my father used to come to the UK and bury me in verbal criticism, it was Alan who told him to 'lay off', who told him that I wasn't such a 'sad sack' as he called me but that I was very talented and would make it. My father rolled his eyes. If it wasn't for Alan I would never have thought of writing comedy, I would have had to return to my home, to my parents in the US and I know that would have broken me. I know that by now I'd be either institutionalised, heavily medicated or dead. I have to thank him and can't.
2016年01月27日 17点01分
1
标题：For Alan Rickman 致艾伦·里克曼
By Ruby Wax Yobeena译
正文翻译如下：
我刚刚在伦敦西区的艺术剧场（The Arts Theatre）开演我的喜剧《理智新世界》（Sane New World），演出一直进行到2月13日。这部喜剧已经在英国巡演了好几年了，但记者前来时，我总是要胃疼，要知道，任何一个急转的笔锋下的负面评价，都能令我难过蒙羞—-然而你还是得出现在舞台上。无论如何，我爱这出剧，我想若不是出现在里面，我会愿意去看它。我一般不这么说，因为我不是自夸的人，但是演出超过200场以后，我想也许自己已对此深信不疑。
三十年前，我刚刚开始表演女性单人剧，艾伦·里克曼就是我的导演。我与他在皇家莎士比亚公司（译注--Royal Shakespeare Company，英文缩写RSC）相识。那里的男演员，在表演的中途，对我乱喷唾沫星子，让我重新考虑女演员的职业生涯，认为我或许该转行。那不是愉快的经历。而艾伦让我把自己说的、想的原原本本地写下来，于是我就不顾一切地开始写作。我把一大册满是食物污迹的手稿交给艾伦，他说就像有人吐在他身上一样，但还是修改并把它打磨成一个舞台剧本。在RSC的时候，他执导了我的第一部作品。我们邀请了特利弗·南（Trevor Nunn）及其他的一些演员，导演来看。此后我突然就从表演盆栽升级成了有台词的角色。（我的表演是不好，但我想他们发现有我在旁边的乐趣了。）
我当时写的那部剧后来在非百老汇（off-Broadway）剧场演出，我启用美国演员。艾伦拒绝参与，因为他正在筑建自己的事业。几位女演员因此掉了眼泪，并表示除非由艾伦来导演，否则她们拒绝演出。他答应来当导演。那些年，我全部的演艺作品，电视节目，戏剧演出，喜剧剧本，电影都是他导演我，教导我的。我记得，曾经在表演演女性单人剧时被艾伦臭骂了一顿，他说我的表演不应太渴望被关注，因为观众能从我的眼里看出这种渴望来。他称之为歹徒的眼睛（hatchet eyes）；眼神里表达了太多匮乏和恐惧。他告诉我演我自己，因为在演一个咧嘴笑的，努力显得滑稽，喧哗的美国人时，我都不知道自己到底演的是谁。观众笑得越少，我的声音就越大。艾伦经常为我示范台词，逼我歇斯底里地尖叫，瘫倒在地上，他对喜剧和把握时机十分在行。我经常想试着模仿他的表演，但我这样做只会使观众感到困惑。所有的表演他都会给我同一个提示：“别太用力”。最后，到今天，几十年过去了，我终于能够做到在舞台上“不渴望关注”。那感觉就是，我可以感知观众的存在，但也能放下努力取悦观众的想法。今天，他会为此感到骄傲了吧。
艾伦上周去世了，我感到从未有过的心碎。我的内心就像被凿开，掏空了。他塑造了我，挽救了我。我父亲以前到英国来，对我横加指责，是艾伦制止了他。艾伦告诉父亲，我不是他口中的“无用之徒”，我是一个有表演天赋并能够成功的人。父亲报以白眼，不以为然。如果不是因为艾伦，我从不会想到创作喜剧，我可能早已返回美国，回到父母家中，我知道那会毁了我。我知道要是那样，我不是被送进精神病院，接受极端治疗，或是已经死了。我真的要谢谢艾伦，但是我却做不到了。
原文：
For Alan Rickman
I just opened The Arts Theatre in the West End (my show, Sane New World runs until 13 February). I've toured this show for a few years around the UK but when the press come there's always a sickness in the stomach because you know that, with one swift negative scribble of the plume, it could get very painful and shaming - and yet you still have to show up. Anyway, I love my show and would come see it if I wasn't in it. This is an unusual thing for me to say as I'm not usually very flattering about myself but after about 200 performances, I think I might have nailed it.
When I started doing one woman shows 30 years ago, Alan Rickman directed me. I met him at the Royal Shakespeare Company where the actors on stage threw spit balls of notes at me while I was mid-performance, telling me that I should reconsider being an actress and to maybe think about an alternative career. It wasn't pleasant. Alan told me to write the way I spoke and thought, so I just let it rip on paper with wild abandon. When I handed him my tome covered in food stains he said it was like someone had vomited on him, but he edited it somehow and shaped it into a show. He directed my first piece while we were still in the RSC. We invited Trevor Nunn and all the other actors and directors to watch and suddenly I went from playing houseplants to speaking parts. (I still wasn't any good at acting but I think I was fun to have around.)
The show I wrote back then went to off-Broadway and I cast Americans in the roles. Alan refused to come because he was building his own career but I made several actresses cry and they refused to do my show unless Alan came and directed it. He did. He directed and mentored me on pretty much everything I did all those years ago; television, live shows, comedy scripts, films. I remember, he would give me hell while I was doing my one woman shows, telling me to not be so desperate because it showed in my eyes. He called them hatchet eyes; expressing excess neediness and fear. He told me to play myself and since I didn't know who that was I played a grinning, trying to be funny, loud American. The less people laughed, the louder I got. Alan would often do my lines and make me scream with hysterics, collapsing onto the floor, he was that good at comedy and timing. I often tried to imitate how he'd do it when I performed but it just confused people. During all those shows he'd give me the same note. "Don't try so hard." Finally, now, after many decades, I can be 'not desperate' on stage. It feels like I can let go of trying to please but still be aware there's an audience. I think now he might be proud.
He died last week and it's more heart-breaking than anything I've felt before. I feel like my insides have been gouged out and nothings left. He formed me and saved me. When my father used to come to the UK and bury me in verbal criticism, it was Alan who told him to 'lay off', who told him that I wasn't such a 'sad sack' as he called me but that I was very talented and would make it. My father rolled his eyes. If it wasn't for Alan I would never have thought of writing comedy, I would have had to return to my home, to my parents in the US and I know that would have broken me. I know that by now I'd be either institutionalised, heavily medicated or dead. I have to thank him and can't.
![[泪]](/static/emoticons/u6cea.png)
因为电脑内存快满了。就整理电脑里的东西。初二存的老头家庭地址，竟然还在。总是以为只要我长大，赚钱，就肯定有机会能见到他。可是就是can't啊![[乖]](/static/emoticons/u4e56.png)
